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Proudly presenting our reissue of the sought-after 1978 album 'Ritmo Y Sabor' from Cuban, master bongo player, Manteca. A deep, hypnotic, sonic excursion of Afro-Cuban/mambo rhythms to get lost within. Released in 1978, there are a number of different pressings of the album coming out on labels including GRC, Desca Records and Sound Triangle Records. Stripped-back and low-fi, this is a pulsating hit of instrumental Latin-jazz dance magic.

Predominantly made up of just percussion and bass, the album comes courtesy of Carlos "Rico" Ramirez on bass, Carlos Patato on congas, timbales by Nelson Padron and Lazaro Pla aka Manteca as band leader. A Cuban legend, Manteca rose to fame playing with Ernesto Lecuona and the Cuban Boys. Although he featured on numerous recordings in his home of Cuba, only a handful exist of his as featured soloist or band leader.

A whirlwind of percussive brilliance, ‘Ritmo Y Sabor’ is brimming with energy regardless of the tempo of the track. An instantaneous ability to make you move, the grooves come alive with each new rhythm introduced. Take for instance, the track 'Afro Funky' that more than lives up to its name. A breakbeat Latin-funk workout, with a mighty fine walking bass line that provides the basis for the drummers to vibe off. Elsewhere, 'Rumbon En Casa De Cando' is fast and furious perfect for the jazz dance specialist, whilst 'Sabor A Mantecado' keeps you on your toes with its trance-like repetitive bassline and percussive interplay. 'Cosa De Manteca' is another heavy-Latin funk gem with a rough and raw feeling of relentless yet groove-driven percussion.

A must-have Afro-Cuban, rhythmic funk triumph, that shows Manteca and his band in full flight

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

Since 2020, and from coast to coast, indie-rockers Fib have been rewiring brains with their singular, jangly sound and furiously tight live performances. Fib's members connected in Portland through their love of punk, friendship, and their shared exceptional musical abilities. After releasing their debut self-titled tape in 2021 and touring the US, the band picked up and moved across the country after falling in love with Philadelphia. The city quickly warmed to Fib's controlled mania- the band putting on the tightest show imaginable, and then, at the end of the set, destroying their instruments in total chaos mode. They matched Philadelphia's freak- fitting like a fingerless glove. Now, connecting with Philly label Julia's War, the group is releasing their debut full-length record Heavy Lifting- a musical odyssey exploring arty pop, punk and progressive rock- while simultaneously breaking free from genre and giving the listener a vividly surreal auditory experience. With Heavy Lifting, Fib shed their early, scrappy, lofi limitations, and embraced a new, expansive and warm recording capture. This bigger sound allows the group to put their technical skill, harmonious vocals, and hyper-infectious songwriting on full display. Songs like 'Mutuals' and 'Say' are frenetic and bouncy- shifting through virtuosic arrangements held together with intermittent, powerful hooks. With tunes like 'Dotted Line' and 'PS,' the band settles deeper into the grooves and songwriting allowing the listener to zone in and bob their head a bit more. While the nine tracks that comprise Heavy Lifting are equally unique and invigorating showcasing the members' intricate guitar tangles and polyrhythms, the album is holistically composed- a greater sum than its parts. The release would easily sit well for fans of new bands like Palm, TAGABOW, and Water From Your Eyes, but would just as easily be a welcome addition for record heads who love bands like This Heat, Television, and Psychic TV. While this might all be hard to believe, and their name is Fib- it's no lie. Fib's Heavy Lifting is a vibrant, moving and endless sonic rainbow. Pick it up and step into their wild and ecstatic void.

Beyond the Bridge proudly presents the latest EP from Dutch sonic architect Spekki Webu, titled "Neural Network," set to release on April 15, 2025. As the founder of Mirror Zone, Webu masterfully conjures a spectral world where time collapses and frequencies bend, inviting listeners on a mind-expanding journey through sound. His ritualistic compositions transcend conventional boundaries, merging past, present, and future into a singular, fluid moment. The eight-track EP delves into an abstract landscape of high-intensity frequencies and textural flux. Webu's sonic manipulations challenge linearity, evoking cyclical movements that oscillate between chaos and order. Each track serves as a kinetic force, pulsating with raw energy and enveloping the listener in immersive sonic architecture. The release also features two transformative remixes from Beyond the Bridge label head K.O.P. 32 and acclaimed producer Feral, each expanding the boundaries of interpretation into new dimensions. credits releases April 15, 2025 All tracks written, produced, and mixed by Spekki Webu at Into The Unknown in The Hague. Additional production by Feral and K.O.P. 32. Mastering by K.O.P. 32 at Pacific Sound Network in Seoul. Visuals by Anton Braun. ? Beyond the Bridge 2025.

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

James Taylor has been writing/recording albums and touring for the past 43 years, starting with The Prisoners and then The James Taylor Quartet (JTQ) from 1986 onwards, to great acclaim. Taylor was the pioneering force that spear-headed the Acid Jazz movement in the 90's, which saw a renaissance in live music. He has also virtually single-handedly driven the rediscovery of the Hammond organ, his trademark keyboard. He has developed his composition and arrangement skills and with these has recorded over 20 library albums. The most recent of the library albums include the four tracks on this very EP, which feature Taylor's innovative horn arrangement skills, placing JB style horns over a funk groove, but in this case he had the novel idea of incorporating two guitars; one funky, one rocky. Sort of James Brown meets The Rolling Stones, and the result can be heard on this slab of vinyl. The current live line-up for The James Taylor Quartet is James Taylor (keyboards and orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums).

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

Donny Hathaway's first studio album Everything is Everything is a significant work in the realm of soul and R&B music, released in 1970. It marked an important point in Hathaway's career and showcased his exceptional talent as a singer, songwriter, and pianist.

The album was Hathaway's first release after being signed to Atlantic in 1969. Hathaway had already built a reputation early in his life, first as a gospel singer as a child under the name Donny Pitts. Raised in St. Louis, with religious influences, his grandmother Martha Crumwell was herself an accomplished gospel singer and guitarist. After dropping out of Howard University in 1967, Hathaway moved to Chicago, his birthplace, and started working on music for Curtis Mayfield's Curtom Records label where he was a songwriter, producer, arranger, composer, conductor and session player.

Everything Is Everything was produced by Hathaway and Ric Powell, who plays drums and percussion on the album; Hathaway wrote or co-wrote five of the album's nine songs. Hathaway had met Powell while at Howard University, as well as the future Impressions lead singer, Leroy Hutson, who jointly wrote the hit song that would eventually make it on the album, "The Ghetto."

The track was mostly an instrumental, except for Hathaway's vocal ad-libs and his singing of the chorus. Hathaway and Hutson composed another socially conscious song for the album, titled "Tryin' Times." Other songs were split between covers (Ray Charles's "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black"), spiritual affairs ("Thank You Master for My Soul") and love songs ("Je Vous Aime (I Love You)").

Released in July 1970, the album peaked at No. 73 on the Billboard Top 200 Albums chart and No. 33 on the Billboard R&B Albums chart.

This timeless classic is now reissued in the definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) format.

The first release to document the solo cello work of musician and composer Lucy Railton, the 40-minute composition Blue Veil recorded at Église du Saint-Esprit in Paris invites listeners into the realm of precision-tuned states of resonance: states made manifest through Railton's careful traversal of her cello's most subtle acoustic characteristics as they harmonically interlock with mind's embodied modalities of attention and imagination. Blue Veil arises out of, is sustained in and finally dissolves back into Railton's momentary presence with her intimate connection to the cello, a way of hearing that allows for a deeper engagement with harmonic resonance, one that opens a space for immediate encounters of mind and sound. Railton's exploratory practice of harmonic perception emerges from a focus on the physical qualities of intervallic and chordal sounds, their textural qualities, degrees of friction, and inner pulsations. Composing in the moment guided by resonances within the cello's body, her own, and their shared vibrational space, Railton moves through Blue Veil by giving sounds what they ask for: sounds of pure texture manifesting as a move through temporal transparency, sounds of rough texture marking regions of dimensionally dense space. Railton's creative and highly refined use of just intonation harmony deforms sound's inner movements in ways that suggest a mode of listening that actively supplies imagery of sounds implied or completely absent rather than merely savouring those fully present. This active mode of "listening-with", playfully and semi-metaphorically referred to by Railton as "sing-along music", allows listening to reflexively participate in the music's movement as it gradually passes through richly saturated domains of harmonic imagination. And just as the precision-tuned tones of Blue Veil lose their individuality when fusing multifaceted uniformity, listening's structures of reference and recognition dissolve into nameless waves of intensity, continuously unfolding themselves upon and merging with the listener. Blue Veil is the result of a deep exploration of the inner worlds of tuning, an undertaking in turn informed by and emerging out of Railton's realisations of the music of Catherine Lamb and Ellen Arkbro, her collaborative work with Kali Malone and Stephen O'Malley as well as her interpretive practice in performing the work of Maryanne Amacher, Morton Feldman and others.

2025 Repress

As a trained dancer, movement has always guided GiGi FM’s work, whether through developing movement based instruments, or questing to make you move via sound-systems across the world. These ephemeral moments of altered sleep patterns and dance are now present in the music of ‘Sea~rène’, sounds for a trip in the mind held with a desire to dance.

A sense of brightness prevails in ‘Movimiento’, the feeling of white light rising from the dark of your mind as you lay with closed eyes.



Opener ‘Gabriella’ takes you by the hand to spin you across the ballroom floor, dancing in a dusky glow. Piano twinkles along with your step; a gradual ascension as a graceful dance can be. Lost in thoughtful yet thoughtless drift to the rumble of sound, we can confront parts of ourselves and our connection to others, the spirit of B side opener ’Awakening The World’s Heart’.



Place is important to movement also, as heard in the kinetic motion of ‘Tempelhof’, reminiscent of the feld in Berlin (GiGi’s home) itself. Blurred lines of people weaving their way through, either high speed on skates or on a leisurely stroll. It's summer in the city, where the nighttime shortens and daylight extends, yet the simulated night of the club never ends. Eventually reaching slumber, ‘Lucid Dreaming’ is the record's swan-song, a final lift of propulsion to remind that the dream of dance is a physical act, belonging to the imagined and the real. Digi bonus ‘Raspberry Pie’ is a sweet treat at the end of the dance, a familiar taste and a reminder of joy, ready for the next ‘Movimiento’.

Remix EP of Viken Arman's album "Alone Together" released last year. Featuring remixes from Acid Pauli, Session Victim and Mano Le Tough.

Session Victim brings their signature blend of groove and warmth to "You With Me." This remix transforms the track into a rhythmic journey, balancing soulful elements with crisp percussive textures, all while keeping the essence of Viken's original track. Acid Pauli combines You With Me and Lonely Raver with his characteristic trippy soundscapes and surreal layers. This rework takes listeners on a psychedelic patchwork of samples and modular rhythm, creating a very unique remix full of experimentation. Mano Le Tough crafts a reflective and emotive spin on "Vibrations." With lush synths and a steady groove, this remix captures an intimate dancefloor experience, blending Viken's analog sound with Mano’s penchant for stirring, dynamic builds. This club mix by Mano Le Tough ramps up the energy of "Vibrations" for peak-time dancefloor impact. Pulsating basslines, intricate drum work, and a driving momentum redefine the track, transforming it into an infectious anthem that demands movement.

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

In the depths of the underground, where the beat pulses through the concrete veins of the city and the soundscape echoes the soul of a movement, Infinity Plus One delivers the Reflexion EP – a raw and unapologetic nod to the gritty, underground roots of ‘90s techno and electro. Drawing inspiration from late-night warehouse parties, the machine-driven rhythms, and the futuristic sounds that emerged from the Motor City’s pioneers, Reflexion carries the essence of that golden era while pushing forward into new realms of sonic exploration. These four tracks, composed with deep grooves and dark, hypnotic sequences, offer a hard-hitting blend of electro-funk and house that will resonate with fans of both vintage and contemporary styles.

On Innocent Beginnings we find a bass-heavy, bouncy house rhythm mesh with haunting synth melodies, setting the tone for a journey through forward-looking machine soul. Next we have Dusk And Darkness which layers a breakbeat on an 808 electro groove to form a darker, ravey feel where all the emphasis is placed on the rolling beats and bassline. Flipping over we have Stand For Love which takes us on a deep house journey, showing a more sensitive and heartfelt side of the Infinity Plus One sound. Closing out this heavyweight four tracker you’ll find Ubiquity with its deep, atmospheric mood built around a snaking bassline whilst big synth stabs add an intensity to this club-ready groove.

Each track here is a manifesto, a declaration of sonic freedom, engineered for the DJs who understand the pulse of the underground. This is the music you feel in your chest, not just hear in your ears.

Dan Piu and Grant's Theory of Movement project has served up gold for lovers of heady tech and minimal. After something of a hiatus, it is now back on When The Morning Comes with more of the sort of tuneage that is going to quickly sell out and soon become the ID request du jour at your favourite underground parties. These are of course sophisticated sounds from the silky house bumps of 'Now & Then' with its seductive vocal allure to the throwback 90s sounds of 'Over Time' (Acid Mix). 'Basis' (Foundation mix) is another immediately classic house sound with analogue and dusty drums and zippy melodies next to more smooth chords. 'Motion Of Objects' shuts down with a more zoned-out vibe and widescreen melodic architecture for late nights.

First-time vinyl reissue of cult UK dance classic.

One of the cult acts of the heyday of London clubland in the early 1990s, the Ballistic Brothers consisted of later-X-Press 2 members Ashley, Rocky and Diesel, alongside David Hill and Uschi Clansen. After the success of underground smash ‘Blacker’ and ‘vs. Eccentric Afros Vol. 1’, The Ballistic Brothers returned with the second volume of their sampledelic good times with ‘Vol. 2’. The group came armed with years of dance floor expertise, and record making acumen, and delivered a further 8 tracks of good time funky grooves.

The opener ‘Delancey Street…The Theme’ paid tribute to their Camden-based record label and was an immediate anthem, while ‘Goodvibes…Goodnight’ was an irresistible mash-up. Elsewhere are jazz, funk, reggae influences and images of the streets of New York.

A vital snapshot of a very unique place in time, specially remastered for this Acid Jazz release, set in a spined sleeve for the first time, with a beautiful expansion of the original artwork

Trambeat are an original soul band from Croydon, South London, formed in 2012 by songwriting duo guitarist Graham Potter and drummer Des James. The two played together in various bands over the years, eventually bringing together like-minded musicians from the Croydon music scene to form Trambeat. The name "Trambeat" derives from the where the band call home, with all band members living along the tram line that runs through the heart of Croydon. Initially the band operated as a loose collective, recording music and self-releasing it online and on CD. But following the 2013 release of their debut vinyl single, "Walk a Mile In My Shoes", and debut album "Tales From the Comprehensives" on Berlin labels Firestation Records and Sundae Soul Records, things began to move fast. With regular airplay by Gary Crowley on Radio London, offers of gigs began to roll in and they quickly morphed into a tight and exciting live band. Trambeat have supported the likes of Ranking Roger's The Beat, Geno Washington, The Four Aces (Desmond Dekker), Shakatak, The Flatmates and The Popguns and have featured at festivals right across the UK and Germany. Trambeat's debut release with LRK Records in 2023, the uptempo funk/soul crossover song "Don't Hold Back", proved popular at both Northern Soul and Funk clubs and was championed by "Northern Soul Girl" Levanna McLean who released a widely viewed clip dancing to the record. Indeed it became a staple at her very own Bristol Northern Soul Club and Funk Addict nights. The new single, "All Killer, No Filler", builds around a sultry, strutting bass riff bolstered by jazzy horns and a funky Nile Rogers influenced guitar. Vocalist Aimee lays down her manifesto for love without compromise, before building to an anthemic chorus you can't help singing along to.

MM Discos presents 'Freedom Spirit' by Pleasure Voyage: a sonic journey into the essence of Balearic Beat From the sunniest corners of the Balearic imagination, MM Discos opens the doors to a new musical expedition with Freedom Spirit, the highly anticipated vinyl release by Pleasure Voyage. A tribute to freedom, nature, and the connection to the ethereal, this EP encapsulates the spirit of eternal summer with six carefully crafted tracks that move between ambient landscapes, hypnotic downtempo, and immersive grooves. This work is a testament to Pleasure Voyage's talent for capturing the magic of the sea breeze and the ebb and flow of the waves in sound form. From the first chord of Cloud Waves (New Age Balearic Mix) to the deep reflection of Cloud Waves (Ambient Meditation Mix), each track is a gateway to a state of escape and immersive enjoyment. Side A kicks off with Cloud Waves (New Age Balearic Mix), an enveloping anthem with celestial pads and floating arpeggios, followed by Surf Meditation, an ode to the ocean with pulsating basslines and ethereal percussion. Verano Española closes the A-side with a warm groove and guitars that evoke golden sunsets and cocktails by the sea.

The Crippled Flower was a post-punk band from Düsseldorf - and they arrived late. However, unlike many young, unsuspecting, hairsprayed hopefuls from that time, in 1985 they could sense that the end of their era was approaching. They knew too much to want to take the world by storm. They were four individualists searching their own way. Each of the band members only found their calling after the time that they had spent together – but that's exactly what makes The Crippled Flower still seem really interesting today, this static energy that does not discharge, but is simply there.

Searching dreamers should sound like that and that's what they were. Singer Phil Elston, for example, had brought his love of Kraftwerk from England to Düsseldorf. Even his bandmates found this strange, but they were also entangled in their own longings. This is because the times were still so crazy and these searchers were "on fire". A fire that glows in the band's recordings.

Listening to the songs today, The Crippled Flower sound like they are hugely at the height of their game; think of Wire, Felt, Scritti Politti or Minimal Compact. The variety of musical themes, as well as different soundscapes, which the band created can only be listened to in amazement. Often, it is only Phil Elston's Sprechgesang that confirms that this is really the same band. However, it was back in 1985 when, importantly, the catalyst that brought the musicians together - the short lived eclectic record store "Heartbeat" in Düsseldorf Bilk - occured. It was there where post-industrial and pop, melodic minimal music and sound attacks awaited those who wanted to discover music by artists and bands they did not yet know.

Cassette releases. All recorded on 4-Track. The Crippled Flower succeeded in this medium. Firstly, with a cassette just entited The Crippled Flower, working from project-like studio recorded sketches. Four more tracks from the short-lived band appeared in 1986 on "A Heartbeat Rendezvous“. A demo tape submitted to Les Disques du Crépuscule, however, did not lead to a worldwide career and so, unfortunately, it was soon over.

Stefan Krausen moved on to the follow-up project Deux Baleines Blanches with Stefan Schneider, which, in 1994, gave rise to the band Kreidler. Krausen was already drumming with the I-Burnettes on AtaTak and much later he studied painting in Munich. Nina Ahlers moved from Düsseldorf to Paris to study art, because in the 80s it was still the case that Paris was the destination of choice for those really wanting to become an artist – and that's what she did. Her work is characterized by a non-academic minimalism focusing on everyday objects. Stefan Schneider remained connected to music. Only Phil Elston, who helped sabotage fox hunts in England and wrote these observant lyrics about environmental destruction and time travel, seems to have escaped the social-media world. Whether he found Kraftwerk-fulfilment in Düsseldorf or moved on disillusioned remains a mystery to us. And somehow this also fits in with that peculiar, special band. - Oliver Tepel, Köln 2025 (Translation by Philipp Elston)

BRVTAL has taken a new direction in its sonic journey, moving beyond its early sound to embrace the raw mystique of proper techno. This shift has already been reflected in recent digital releases, but BRV007 marks the first vinyl of this new era, a powerful compilation uniting top-tier international and Hungarian producers.

The record features the driving force of Italy's Alarico, the relentless energy of Croatia's Insolate, and the raw intensity of New Zealand's Keepsakes, who already collaborated with BRVTAL in other ways. Joining them are Spain-born techno heavyweight P.E.A.R.L., alongside Hungary's own CVRDWELL and the fierce alliance of Indirect Movement & AGA2L.

This is BRVTAL's boldest statement yet, uncompromising techno, pressed to wax

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese drei LPs enthalten die Musik des legendären dritten Teils des Erfolgs-Konsolen-Ego-Shooters, die speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst wurde. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und drei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo 3 zeichnet sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien neben einem 60-köpfigen Orchester und einem 24-stimmigen Chor dem Soundtrack emotionale Tiefe verleihen.

- 31 speziell remasterte Titel aus dem Spiel von 2007
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

* includes download

One of clubland’s most unmistakable and loved duos, Steffi & Virginia present a new album of upfront house music, Patterns of Vibration.

Eight gracefully-driven songs stretch out from the hazy fog of the dancefloor to the sun-drenched future decades of house, offering a glimpse into the rich heritage and distinct forward momentum of the two artists.

With their first productions dating back to 2010 the pair continue on a long-lasting journey together as creators and partners. Their debut, Reasons, was quickly followed by the seminal Yours on Ostgut Ton - the blueprint for their trademark sound, embedding gorgeous vocal hooks within luxuriant, weighty club tracks.

In their own words, “a celebration of joyful moments,” Patterns of Vibration was put together over a three month period of intensive work and play. The pair immersed themselves in the daily ritual of putting down ideas at their Candy Mountain studio in the Portuguese countryside. At the same time Steffi’s 50th birthday celebrations fueled their creative fires, reconnecting with old friends and tapping into a deep love for those ecstatic moments of freedom and unity, soundtracked by house music.

In no time a huge folder of ideas amassed and they set about selecting the purest, stand-out signals with the motto, “let the positivity shine through!” It’s been a process that has gifted the two artists with energy and perspective as they continue on their unique path.

With the spirit of the fierce night streaming through on every track, this album marks a bright new chapter in the duo’s story - channeling that special potion of emotional vibrations found when music, dance, friends and lovers meet.

Thanks to countless hours behind the decks at their Berghain / Panorama Bar residencies and global touring, the album glistens with an ageless urgency and a straight-to-club core. That driving, early morning pulse is mirrored by a deft skill for conjuring arresting electronic hymns; transmitting their passion and collective years together on the road, in clubs, in the studio, and at home.

From the moody tribalism of lead single Nightflight, to the chord-led heaven of Stab Stealer, or the tracky 7 In The Morning, Steffi & Virginia’s partnership is alive with the essential throb of a movement that continues to blossom as it enters its 4th decade.

Virginia’s jubilant vocal hooks are front and centre on every track, enriched with Steffi’s precision analogue bump. Punchy and direct kick drums carry jacking snares and interwoven synth stabs. Perfectly placed basslines massage the low-end, leaving plenty of space for Virginia’s vivescent vocals.

A homogenous sonic code is woven throughout, as Virginia’s voice provides not only the soaring leading lines but also the “ornaments and tentacles” of each track, with percussive details and micro-elements melting into the grooves of every cut.

Steffi & Virginia’s house music is the stuff of folklore. Patterns of Vibration weaves a narrative through a record crate full of emotions, a forever-chorus calling out through the night, till the earthy glow of the new dawn.

"A powder keg of bangers primed to shake the rat race to its core" - The Guardian Australia (Best of 2023) "Simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy or slinking beats." - Rolling Stone Australia (Best of 2023) London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV. YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia. Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil's drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet. Lead single `ZOO' plays with the silent throes of cultural diversity over a paranoid trap instrumental, 'BLUSH' is a blissed out digital love letter wuth shimmering autotuned hooks and rave inspired breaks. `CHANEL' (featuring Indigenous Australian songwriter Alice Skye) is a guitar driven lament for Australia's myopic cultural landscape, fading out with "I'll never reach my full potential here". Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from `GLYPH' were featured in the iconic Australian Netflix series 'Heartbreak High' the following year. 2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio. Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo. As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2022. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter.

Roberta’s latest missive showcases her ability to craft a more immersive and jazz-forward EP while staying true to her reliable leaning towards a more heady sound. Each track is an exercise in balancing the interplay between those two spaces. Your Power reveals a new complexity to her sound while evoking the sentimentality of her earlier productions. The EP closes out with a slow jam house groove that elevates as much as it captivates with its emotional melody and winding synths creating the perfect outro to her latest work, which implies her evolution as an artist is still slowly revealing itself.

Wallis is back with a very heartfelt EP. Her goodbyes to the city she called home for the better part of the last decade. Many people move to Berlin, many people get stuck there and wonder where the time went. This EP talks about the unhealthy relationship she had with the city. It's about being stuck somewhere you no longer want to be but somehow cannot leave. The music is stripped down to its bare elements with moody vocals, unique drums patterns and intertwined baseline and melodies that somehow feel familiar. It's melancholic. It feels grey. Sad yet hopeful. Berlin. But tomorrow is another day.

NEIL ARDLEY’S HARMONY OF THE SPHERES RETURNS TO VINYL FOR THE FIRST TIME IN OVER 40 YEARS
Analogue October Records proudly presents the long-awaited LICENSED reissue of Harmony of the Spheres, Neil Ardley’s cosmic jazz masterpiece, originally released in 1979 by Decca. This marks the first vinyl reissue of the album since its original release, offering fans a rare opportunity to experience this extraordinary record in its purest form.

A Visionary Fusion of Jazz and Science
Recorded at the legendary Morgan Studios and produced by the esteemed Martin Levan, Harmony of the Spheres is another bold evolution in Ardley’s ever-expanding musical journey. A unique blend of jazz, electronic synthesis, and progressive rock, the album explores the ancient Greek concept that planets create celestial harmonies as they move through space. Using precise astronomical calculations, Ardley transposed planetary orbits into a nine-note chord—one that extends beyond the range of traditional acoustic instruments, making synthesizers the only means of fully realizing this cosmic sound.
The album features an all-star lineup, including the visionary John Martyn on guitar, saxophonist Barbara Thompson, Tony Coe, Ian Carr, and keyboardist Geoff Castle, alongside the formidable rhythm section of Billy Kristian (bass), Richard Burgess (drums), and Trevor Tomkins (percussion).

A True AAA Reissue – Cut Direct from the Original Master Tapes
Following the reissue success of Journey to the Urge Within (1986) by Courtney Pine (AOR-001-ST), Analogue October Records’ founder Craig Crane embarked on a mission to restore Harmony of the Spheres to its full sonic glory. Working with Gearbox and using Decca’s original 15ips 2-track stereo master tapes, this reissue is a true AAA release—an all-analogue production with no digital step. The album was meticulously cut directly from the tapes and pressed to the highest standards at Optimal in Germany.
Inside the deluxe package, fans will discover an 8-page booklet featuring an in-depth essay by Jazzwise magazine editor Mike Flynn, along with never-before-seen photos from the original recording sessions.

Continuing the Legacy
This reissue is just the beginning—Analogue October Records is committed to further explorations of Neil Ardley’s work, alongside other deep cuts from the UK’s vibrant 1970s jazz fusion and jazz-rock scene.
Whether you’re rediscovering Harmony of the Spheres or experiencing it for the first time, this release is a testament to the artistry and innovation of Neil Ardley.

Ben McElroy is a folk/experimental/ambient artist based in the UK. He has released prolific albums since his 2016 debut ‘Bird Stone’ for whitelabrecs. Notable releases since then include 2018s ‘The Word Cricket Made Her Happy’ for Eilean Rec and 2022s ‘How I Learnt to Disengage From The pack’ on The Slow Music Movement (which was folk album of the month in the Guardian).

«This album evolved from long improvisations on pump organ and cello. I really wanted to play the instruments as a form of therapeutic release, a kind of stimming, paying more attention to this than the Appollonian aspects of the music. So scrape and repetition… anger and using the bow/keys to really try to gnaw into deep, old brain feelings.
I often start things with improvisations, but then tidy, smooth things out… I wanted to keep that aspect to the minimum here.. there is some, but where possible I’ve kept the squeaks, the noises, the mistakes.
The project took on another dimension when I received some funding from PRS Foundation, allowing me to bring more artists (Debbie Armour on vocals, Elinor Rowlands on spoken word and Nick Jonah Davis on guitar). Where possibly, these collaborations were also improvised, in the moment and left a little raw.
The funding also allowed me to create an accompanying film ‘Widdershins & Deosil.’ Shot with filmmaker Benjamin Wigley on 16mm film in Derbyshire, it is an abstract story of magic and puppetry using elements of the album as soundtrack.» - Ben McElroy

Z.I.P.P.O returns to SK11 with his second EP 'Eleven', a collection of four tracks that defy formula while remaining anchored to the roots of techno. Boldly unconventional yet highly functional, each piece serves as a passage: a shift in tempo, tone, or texture, shaped by a deeply personal sonic vision. Rather than offering a fixed narrative, the record encourages fluid movement - between genres, emotional states, and sonic architectures. Eleven is a finely tuned exercise in tension, groove, and release a thoughtful and uncompromising work from one of Italy's most singular voices.

The EP kicks off with the title track "Eleven", which carries the weight of a timeless hymn - balancing melancholy and release through an impactful lead motif, anchored by a heavy, hypnotic kick. "Hypernova" dives into submerged territory, where swinging percussions, chopped vocals, and aquatic atmospheres unfold with eerie precision on its 909 workout. On the B side, "Kaus" moves in a state of continuous evolution: elegant and deep, driven by tribal rhythms and swelling chords that glide into trance-like dimensions. "Replication" closes the cycle with relentless pressure: twisted sound design, full-bodied groove, and a sense of motion that refuses to resolve.

Hackney singer-songwriter Mychelle debut album Good Day is set for release on April 30 via FAMM (Maverick Sabre/Jorja Smith).  In her own words "This album is inspired by the music I love to listen to, with lyrics that helped me release what wasn’t serving me.‘Good Day’ is my way of saying goodbye to the chapters in my life that created bad days.I’m incredibly grateful for every single person who played a part in bringing ‘Good Day’ to life, and for those who continue to help push it further. I’ve really enjoyed the entire process.Thank you, and have a ‘Good Day’. Raised in Stoke Newington, Mychelle grew up surrounded by music and first picked up a guitar at 10. Years later, she overcame her shyness through busking—spending over four years performing on London’s streets, where her raw and soulful delivery caught the attention of FAMM, leading to her signing.
Since her debut The Way (2021), Mychelle has released standout EPs, including Closure (2021), Someone Who Knows (2022), It’s Not You, It’s Me (2023), and Me & Gaz (2024). Her collaboration with ENNY on Forbidden Fruit has nearly 2.5 million plays, proving her ability to connect deeply with audiences. Having performed at Montreux Jazz Festival, Boardmasters, Deershed, and Michael Kiwanuka’s tour, Mychelle will soon join Jorja Smith on her UK & ERIE tour and take the stage at Across The Tracks and Mad Cool Festival in Madrid, promising an exciting summer of live performances. Beyond music, she thrives in movement—whether on the basketball court, football field, or running track—infusing energy and passion into everything she does. Good Day marks a bold new chapter, showcasing her evolution as an artist and her unwavering trust in her craft.

**RSD 2025** - Record Store Day exclusive pressing comes on Blue vinyl with heavyweight sleeve

Seminal album from cult Ghanaian musician Alhaji K. Frimpong, recorded in 1976 and considered to be one of the best highlife albums ever recorded.

Features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more.

Backed by Vis a Vis - one of the most influential bands to come out of the Ghana Highlife / Afro Rock movement.

Unique avant garde sound that blends traditional highlife percussion and horns with synthesizers

Original copies of the album are extremely rare. The album was reissued in limited quantities in 2011 and has been unavailable since - even reissue copies sell for high prices on the second hand market.